Tour Guide is not a map, but rather a misdirection—an index of detours, false starts, and offbeat exits. Rather than accompanying the portfolio, it escapes it. The texts archived here are errant para-texts, such as footnotes  and appendices to works that may never be made or exhibited. Written intermittently from the 1990s to the present, these writings accumulate in the margins of a long conversation with art.

Neither critical essays nor artist statements, these texts are experiments in art writing—sometimes theoretical, sometimes performative, and often absurd. Their function is closer to contraband than to explication. They transport barely resolved ideas from one conceptual register to another, often through irony, mimicry, or 'pataphysical sleight of hand.

Some simulate interviews that never happened. Others impersonate catalogs, manifestos, or lost academic papers. In Swann's Way, a fictitious exchange occurs between a Proustian flâneur and a painter who refuses to engage with the semantics of painting. The painter disdains art theory and subverts the structure of a televised political interview. Declaration borrows from Lyotard's text on Duchamp to perform a metaphysical auto-dismantling of the page, the platform, and personhood. Other entries mutate. Some are dead ends. Others rewrite themselves.

Therefore, "Tour Guide" is a misnomer—there are no routes here, only recursive loops, forgeries of thought, and glossolalic footpaths. Visitors are advised not to follow, but to stray. If you find yourself lost, know that it is working.

Tour Guide is not a guide. It offers no overview, orientation, or guarantees of arrival. Rather, it is an esoteric textual labyrinth disguised as a navigation tool. Each page is a conceptual trapdoor—sometimes poetic, sometimes parasitic, and always mimicking, but ultimately undermining, familiarity.

This section of the site is more infiltrative than informative. Texts appear as interviews, declarations, and marginalia. However, their true function is performative: to destabilize viewers' expectations of artist statements, menus, domains, and the concept of an artist's website.

Some examples:

In Swann's Way, the artist is interviewed by a Proustian flâneur.  The interview imitates Jonathan Swan's 2020 interview with Donald Trump, but politics are replaced by painting. The result is part 'pataphysical theater and part conceptual critique.

Declaration riffs on Lyotard’s writing on Duchamp, deconstructing the page's metaphysical validity through font changes, false starts, and philosophical sabotage.

Tour Guide is not content. It’s a vector of doubt. Proceed accordingly.

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